Harmony Wheeler

A theater lover since childhood, Harmony Wheeler has done Marketing and Public Relations work for Sierra Repertory Theatre, Hillhouse Opera Company and other companies. She graduated with high honors from Biola University with her degree in Journalism and an emphasis in Public Relations. In addition to working for the Gallo Center for the Arts, MJM Entertainment Group, Biola University Marketing and Communications, 6th Street PR, and Zimbabwe Gecko Society, Wheeler has written for The Modesto Bee, The Chimes, Static MultiMedia, BullyPulpit.com, TUFW Alumnus Magazine, Christian Book Previews, The Christian Communicator, and Church Libraries Magazine. Her photos appear in The Dominican Dream, a book available for purchase through Biola University's Journalism Department. Her photography and video work can be found at http://photographybyharmonywheeler.shutterfly.com/. To learn more about Harmony Wheeler, or to contact her for work possibilities, visit www.harmonywheeler.com.

Mamma Mia! Here we go again! The sensational Abba-inspired tour returned to the Gallo Center for the Arts Thursday evening with yet another sold-out run ahead. After more than ten years on Broadway and with numerous International and North America tours, the pop musical heads to Fresno for its next California stop. No doubt, audiences there, too, will find themselves unable to resist the beat and motion of the contagious pop musical. Thursday's audience, young and old, had no trouble dancing in their seats.

In just over a week Disney opens its national tour if Newsies in San Francisco for a month-long run. BroadwayWorld interviewed Zachary Sayle about the show's 'fansies,' life on the road, the banner the musical carries, and even Sayle's other Disney favorites. Sayle started his career at a young age, playing the child roles in tours of shows including Chitty Chitty Bang Bang and The Sound of Music. He now plays Crutchie in the show based on an actual Newsboy strike of 1899 New York. Check out the full interview, then seize the day and buy your tickets at www.shnsf.com.

Andrew Lloyd Weber and Tim Rice wrote Joseph and the Amazing Technicolor Dreamcoat as a mosaic of musical styles and humor, meaning any dream will do for design and concept. American Idol husband-wife team Diana DeGarmo and Ace Young bring a tech and color production to Sacramento this week. And Tuesday evening's audience devoured the show's original, energetic staging.

The lyrics tell all. "In short there's simply not a more congenial spot than here in Camelot," now lodged at Fresno's Saroyan Theatre through tonight only. Originally launched into success by Julie Andrews and Richard Harris, the classic receives a new, simplified staging with an overwhelming ambiance, as well as a Renaissance acoustic makeover.

Short and sweet, A Charlie Brown Christmas does not arrive until the second half of San Francisco Symphony's current holiday concert. But Charlie is worth the wait. In their West Coast debut, Charlie and friends dance about the Davies Hall stage and warm many a heart with feel-good cheer. Celebrating the Christmas spirit does not come any better than what the Symphony offers. Across the street at the War Memorial Opera House, San Francisco Ballet continues its run of Tchaikovsky's beloved Nutcracker, set in early 1900's San Francisco. Choreographer Helgi Tomasson's production sweeps young Clara into a world of dreams orchestrated by a magical Drosselmeyer, present throughout to wave his fantastical cape and usher in new surprises.

With an overwhelming number of productions and events on the horizon, I find it difficult as a critic to decide what shows to cover ("criticism" is not the most appropriate quality of the holiday; therefore I aim to stay positive in this article). Fortunately, we can share Christmas without sharing the same theatrical experiences. So, take a moment to tell BroadwayWorld San Francisco what holiday shows and experiences you will visit this winter, and don't forget to check out BroadwayWorld's picks for a Bay Area holiday extravaganza!

Peter and the Starcatcher may not match your idea of the perfect Christmas show, but it's certainly best friends with the holidays. An emotional and inspirational experience awaits at Theatreworks' production of the Pan prequel. And there's always the company's faux snow after each performance.

We spoke with Shannon Guggenheim on the return engagement of her unconvential holiday show MeshugaNutcracker. The production just opened in San Francisco and plays through December 14, but you can also catch it in San Jose December 25-28 before it travels to NYC next year. For tickets and information, visit http://themeshuganutcracker.com/.

Pierce Peter Brandt and Jim Ambler lead the energy and talent of Hillbarn Theatre's White Christmas. The two equity actors give great character and Broadway-quality vocals to song and dance partners Bob Wallace and Phil Davis. Behind them, an ensemble provides perfect harmonies attuned to the show's 1950's era. And although the scenic design remains simple throughout, a grand finale features Kuo-Hai Lo's gorgeous mountain background and an audience surprise that we won't spoil here.

The newer production of the musical, which I have seen twice before in addition to the Broadway production, moves at a quick pace with added slapstick humor and a gorgeous aesthetic. Despite the few down sides to a trimmed script, the changed direction allows the cast space to make characters their own. I counted at least ten original stagings in the first act alone that were not present when the musical came though Modesto and Sacramento in previous years.

Cirque du Soleil has always been a cabinet full of curiosities, and the fact of the matter finally found its own title and concept in Kurios, the latest show to tour under the grand chapiteau. While the imagery of the production harkens back to previous LA Cirque show Iris and the robotics of BBC's Dr. Who, Cirque's Kurios finds incredible new ways to display its artistry and talent.

Today women go to college to get their MRS degree, but apparently, back in the day, the youthful elite traveled to the south of France for school, and with great hopes of finding the perfect boyfriend. Such is the setting for 42nd Street Moon's latest production, "The Boy Friend," a delightful romp through the sunny beaches and high societies of 1920's Nice. It's nicer in Nice, but it's just as lovely at the Eureka Theatre in San Francisco, where director and choreographer Cindy Goldfield offers the most creative dancing and staging for the most adorable characters currently on stage.

I Love Lucy Live on Stage's Lori Hammel spoke with BroadwayWorld San Francisco about the show's universal appeal and what you can expect from the classic TV-show turned theatrical experience. The show plays November 11 -23 at SHNSF's Curran Theatre.

BroadwayWorld San Francisco talks with Brian Kohn, principal of the Ruth Asawa San Francisco School of the Arts. He has a very unqiue production in store for Bay Area audiences: The Wall, based on album by Pink Floyd.

Verdi was a master at crescendo. In "Masked Ball," the score foreshadows and defines even while characters defy fate. As Count Anckarstrom laments his wife's betrayal in the opera's third act, the harp and violin take turn in old romance and revenge, building to a grand determination. Like Verdi's "Rigoletto" and "Il Trovatore," "A Masked Ball" concludes with a game-changing revelation in answer to an incredible setup.

Contra Costa Musical Theatre knows how to put on a happy face. You will, too, after two and a half hours of living with Bye, Bye Birdie. Inspired by the likes of Elvis Presley, Ed Sullivan and the bright colors and square designs of the 1950's, CCMT's production features its usual high-tech scenic design and familiar faces in lead roles.

When Broadway actress Emily Skinner takes the stage and opens 42nd Street Moon's current offering, the next two hours look bright and worthwhile. Venice, Italy, as displayed on stage by set designer Hector Zavala promises magical, mystical miracles. Yet as the musical progresses, rather slowly at that, the script turns Skinner's immediately likeable character into a flawed one, condemned for what may seem to many like reasonable judgment calls.